Look who's morphing

This project's creative component is "Look who's morphing", a fiction collection that explores the theme of personal identity. The exegesis analyses an issue pertaining to the writer's creative process: what degree of directness was employed in the authorial identity in his creative work and how was this level of directness realised?

e-learning through digital theatre : breaking down the tyranny of distance and limits of location

In this article, we report on a cross-disciplinary, cross-cultural digital exchange project between Australian Drama and Education students and Dutch English Language and Culture students, and examine the impact of the place-independent, technology-mediated communications and collaboration on their learning trajectories. The intensive, intercultural collaboration between the two groups of students resulted in a 50-minute group-devised, digital theatre play entitled Quarter Acre Dreaming. This play, performed through live interactive media by both Dutch and Australian students, traced the historical development of the Australian suburb, while integrating scenes of Dutch immigration into Australia. In the creative process, the students on either side of the globe interacted through Computer-Mediated Communication (CMC), and used videoconferencing and Skype for live rehearsals and discussions to advance their learning of English, their performance repertoire and cross-cultural understanding.

Richard Tucker. Deakin University

Creativity has been defined 'as the production of novel and useful ideas in any domain'. I would question the words 'novel' and 'useful' because, if the idea is 'useless' but new to the creator, the creator has still given birth to an idea via some form of creative process. I suggest, therefore, that 'creativity' is simply the production of ideas. But it is not quite that straightforward. Innovation is often distinguished from creativity as the successful implementation of ideas. Yet there is a creative process between the birth of an idea and its implementation—that is evolving/ developing/ operating on an idea. This development of an idea is also creativity. I would therefore say that creativity is a two-stage process: it is, firstly, the production and, secondly, the development of ideas; where 'production' is understood as the initiating activities a designer undertakes to inform or inspire ideas.

Indelible 4

The painting is one of a series that responds to the landscape of central Australia and extends on my interest in the interaction of matter and the emergence of new insights that is inherent to the creative process

Indelible 1

This painting responds to the landscape of Central Australia and extends on my enquiry into the interaction of matter and the emergence of new insights inherent to the creative process

A cavalcade of erasures: an educational audio-visual presentation

Dirk de Bruyn has been creating film works for over 35 years; mostly in the hand-made, 'direct animation' mode. He also performs live with multiple projections of his films in a highly embodied mode of expanded cinema performance. His work is renowned for its intricate, suggestive layering of sound and image, and use of sumptuous, blooming fields of colour.An active participant in our PyR16, Dirk will be discussing his conceptual work, his meticulous creative process, and his particular relationship with the materials, light, space and time both on film and stage, illustrating with some examples.We'll conclude with a Q&A session with the attendants.

Pedaços

This is a 50 minute solo performance work. Created by Magda Miranda and Rea Dennis Directed by Rea Dennis Performed by Magda Miranda Entitled 'Pedaços' - a Portuguese word meaning pieces or fragments, the performance is built on fragments: of text, of memory, of artifacts collected over a life, of cultural identity that is fractured through the passages of life, migration, the death of family members, and even ageing. Part of Dr Dennis' practice-led research the inquiry explores the way memory intersects with creative process, including spontaneity and decision making, when devising for theatre. Following a post-doc line of inquiry which yielded two previous works: Apart of and A Part From (2007) and Train Tracks and Rooftops (2010) in which Dennis performed and directed. The current work shifts focus to my work in a directorial role alone. It is performed by Magda​ and informed by her memory.

Creative arts practice, creative industries : method and process as cultural capital

The value of artistic research is related not only to the products of creative arts practices, but also to methodological, material and social processes through which they operate.

This paper argues that although creative arts research methods – the use of personally situated, interdisciplinary and emergent approaches – contradict what is usually expected of research, such approaches underpin the innovative capacity of studio enquiry and its implication for extending practice-led research pedagogy across all research disciplines.

Using protocol analysis to explore the creative requirements engineering process

Protocol analysis is an empirical method applied by researchers in cognitive psychology and behavioural analysis. Protocol analysis can be used to collect, document and analyse thought processes by an individual problem solver. In general, research subjects are asked to think aloud when performing a given task. Their verbal reports are transcribed and represent a sequence of their thoughts and cognitive activities. These verbal reports are analysed to identify relevant segments of cognitive behaviours by the research subjects. The analysis results may be cross-examined (or validated through retrospective interviews with the research subjects). This paper offers a critical analysis of this research method, its approaches to data collection and analysis, strengths and limitations, and discusses its use in information systems research. The aim is to explore the use of protocol analysis in studying the creative requirements engineering process.

What does it meme? The exegesis as valorisation and validation of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

Understanding requirements engineering process: a challenge for practice and education

Reviews of the state of the professional practice in Requirements Engineering (RE) stress that the RE process is both complex and hard to describe, and suggest there is a significant difference between competent and "approved" practice. "Approved" practice is reflected by (in all likelihood, in fact, has its genesis in) RE education, so that the knowledge and skills taught to students do not match the knowledge and skills required and applied by competent practitioners.

A new understanding of the RE process has emerged from our recent study. RE is revealed as inherently creative, involving cycles of building and major reconstruction of the models developed, significantly different from the systematic and smoothly incremental process generally described in the literature. The process is better characterised as highly creative, opportunistic and insight driven. This mismatch between approved and actual practice provides a challenge to RE education - RE requires insight and creativity as well as technical knowledge. Traditional learning models applied to RE focus, however, on notation and prescribed processes acquired through repetition. We argue that traditional learning models fail to support the learning required for RE and propose both a new model based on cognitive flexibility and a framework for RE education to support this model.

Games geeks in context: developing the environment to engage creative expression

This paper explores the importance of purpose built combined technological and social collaborative environments in supporting the development of creativity in a cohort of students not generally associated with creative abilities. A supportive and nurturing environment provides these university students with a community where they can share knowledge and ideas, and subsequently engage in creative activities and behaviours. Such an environment directly impacts on the levels of engagement with which students� participate in their learning process. The authors draw on findings derived from a study of first year computer science students enrolled in a games design and development unit at an Australian university. This paper will focus on the ways in which the participants negotiate and regulate the exercise of power and control in the environment in order to enhance their own creative expression.

A creative twist: management theory, creativity and the arts

For many theorists and practitioners in the area of organizational theory, HRM, marketing and other domains of organization studies, organizational creativity is something to be distilled and managed as an element of organizational performance. The article argues, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. The article's starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centers on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art. The mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfillment.